Ballet for Contemporary Dancers
easier, more joyful, and more human

The ballet class re-evaluates and builds on classical technique, focusing on strengthening the dancers awareness of his or her own natural alignment.

The class is divided into two parts: the barre and the centre. Exercises at the barre emphasise on isolating and releasing the joints in order to strengthen the dancer's centre and support proper body placement. Body placement becomes functional and fluid, rather than stiff and held, making movement easier and more natural.

The second half of the ballet class, conducted in the centre, continually challenges the dancer to use the placement and release discovered at the barre as a source of strength and individual dynamics. Training in the centre relies on shift of weight, motivation and flow of movement, and momentum rather than form to allow the dancer to move with a greater sense of freedom and expression. The dancer than gains a stronger sense of confidence to take space and go beyond technique.



Gyrokinesis
Awakening of the senses and stimulation of the nervous system

Gyrokinesis is a safe and systematic learning process developed by Julio Horvath, a gymnast, ballet dancer, and swimmer. Through his recovery from multiple injuries he created the system. The exercises integrate key principles of Yoga, Tai Chi and dance while being an original system.

The class starts with waking up series continuing into spinal work on the chairs. The exercises are performed through spherical awareness and circularity of movement enabling the user to perform under permanent guidance and controlled resistance. Each of the exercises is synchronized with a corresponding breathing pattern or forceful cardiovascular aerobic stimulation.
Once the spine and nervous system are prepared to support the limbs circular arm and leg movements are added. As the muscle tone and body awareness increase more advanced exercises are performed. The class offers stretching and strengthening exercises focusing on functional capacity of the spine thereby developing a greater of awareness and openess of the entire instrument.



Libby Farr
Libby Farr studied at the School of American Ballet in New York and has been performing with several Ballets in the USA and Europe. She has been heading Die Etage in Berlin for four years. She has been ballet mistress of the company Pretty Ugly in Freiburg (Germany).
For many years she has been dedicated to teach ballet and body awareness.

Libby Farr is now a regular guest teacher at P.A.R.T.S., SEAD and the London Contemporary School, Henny Jurriens Stichting, Texas Christian University, Tanz Fabrik, Balance Studio One, Copenhagen Dansens Hus and for Companies including Rosas, Ultima Vez, Charleroi Danses, Batsheva Dance Company, Pina Bausch Dance Company, Ballet Preljocaj, Cristina de Châtel and Cullberg Ballet and is a regular guest teacher at ImPulsTanz Vienna a.o.